Archive for the ‘nostalgia’ category

Silver Shadows: The Modernity of Ancient Photography

Recently, the New Yorker featured a story on “the fading world of the daguerreotype.”  The journal reported that only 1% of the 19th century photographs created using this primitive method of developing survive today. It is a percentage that is, of course upsetting, it’s not too dissimilar from the percentage of silent films that have survived to our modern day: 90% have been lost to time and to inadequate preservation methods. Both, I have found, are incredibly regulatory and are the reason for this post: Daguerreotype was the first exposure (literally) mankind had of itself. It pulls back the curtain of mankind: centuries of shadow are suddenly made bright and clear. Read more ►

The MadMen of TCM: A Greatest Hits Mix-Tape

Classic film fans have, over the past several years, embraced an emerging, and vibrant, niche community.  This is highly evident right here in the blogosphere where, if I do say so myself, the very finest blogs on the interwebs are those manned by classic film fans (Shameless plug for Hollywood Revue, Backyard Fence, Out of the Past, True Classics, MovieStar MakeoverSales on Film, Filmoria, and so many many many more amaaaaazing blogs  — all of these and many more will rock your black and white world.) But the unsurpassed leader  of this long-surpressed niche, is the cable network Turner Classic Movies.

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Welcome Back, Bob!

Robert Osborne: classic film champion since 1994.

Dear Turner Classic Movie Fans Everywhere:

As all of you are very well aware, this week marks the return of the one, the only, wonderful Mr. Robert Osborne who, after a five-month hiatus, resumes his primetime hosting duties on the TCM stage this week, December 1st.

Welcome Back Bob” is a week-long celebration brought to you by the online constituency of the classic film community. The Kitty Packard Pictorial and classic film blogger Will McKinley are sponsoring this humble little tribute, but the voices that truly matter are YOURS: everyone who makes up our vital, virtual community of classic film fanatics. We are, I think it’s safe to say, a close knit, affectionate community of film lovers and, with Bob Osborne being a patron saint of classic film, it is only fitting to rally together this week to share what it is we love about our dear Robert O— and classic film itself— and why it is such a unifying force.

Here’s how it works:

Hop on over to the Welcome Back Bob Tumblr page this week and voice up in any way you like: share memories, a video, a photo, a “Welcome Back Bob” graphic, a blog post, or even just a li’l old tweet– the sky’s the limit! If you post something on your blog or tumblr, tweet @MissCarley and we’ll repost it. And if/when you do tweet, make sure to tag it with #WelcomeBackBob so we can find it and share it!

Pre-Code Gams and Dams(els).



A whole lotta tomato.

Pick your hyperbole, the fact is that 1930s cinema were full of that most suggestive of appendages in a way never quite paralleled since.

Sure, they’re still everywhere because they’re still sexy. They’ve always been sexy– ever since skirts first hiked heavenward in the late 20s straight through to today. But never quite this sexy. Perhaps for the fact that the definition of “sexy” is dependent upon the word “suggestive.” Today, sex on film is hardly suggestive. It is blatant, forthright, overpowering, and leaves absolutely nothing to the imagination.

These shots? They leave everything to the imagination.

Wherein the real power lies… Read more ►

The Red Shoes: Art for Art's Sake

David Thomson is one of my favorite film critics, if for no other reason than he’s not above throwing film theory out the window to say, in effect, “I like it because I like it SO THERE.”

I’m always game to read a good shadowplay soapbox from Thompson’s lovably cantankerous pen. The fact that when we differ, oh boy how we differ, makes moments of complete accord all the sweeter.

He hit the nail squarely on the head on this one.

Jack Cardiff‘s decadent cinematography, Moira Shearer‘s elegant dancing, surreal art direction, combined with Powell and Pressburger’s powerful vision… it is an extraordinary, singular, everlasting piece of “art for art’s sake.”

How else do you account for film credit titles quite this beautiful?